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Denise had walked from the Saint-Lazare railway station, where a Cherbourg train had landed her and her two brothers, after a night passed on the hard seat of a third-class carriage. She was leading Pépé by the hand, and Jean was following her, all three fatigued after the journey, frightened and lost in this vast Paris, their eyes on every street name, asking at every corner the way to the Rue de la Michodière, where their uncle Baudu lived. But on arriving in the Place Gaillon, the young girl stopped short, astonished. "Oh! look there, Jean," said she; and they stood still, nestling close to one another, all dressed in black, wearing the old mourning bought at their father's death. She, rather puny for her twenty years, was carrying a small parcel; on the other side, her little brother, five years old, was clinging to her arm; while behind her, the big brother, a strapping youth of sixteen, was standing empty-handed. "Well," said she, after a pause, "that is a shop!"
�mile Zola was the leader of the literary movement known as 'naturalism' and is one of the great figures of the novel. In his monumental Les Rougon-Macquart (1871-93), he explored the social and cultural landscape of the late nineteenth century in ways that scandalized bourgeois society. Zola opened the novel up to a new realm of subjects, including the realities of working-class life, class relations, and questions of gender and sexuality, and his writing embodied a new freedom of expression, with his bold, outspoken voice often inviting controversy. In this Very Short Introduction, Brian Nelson examines Zola's major themes and narrative art. He illuminates the social and political contexts of Zola's work, and provides readings of five individual novels (The Belly of Paris, L'Assommoir, The Ladies' Paradise, Germinal, and Earth). Zola's naturalist theories, which attempted to align literature with science, helped to generate the stereotypical notion that his fiction was somehow nonfictional. Nelson, however, reveals how the most distinctive elements of Zola's writing go far beyond his theoretical naturalism, giving his novels their unique force. Throughout, he sets Zola's work in context, considering his relations with contemporary painters, his role in the Dreyfus Affair, and his eventual murder. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
This thesis argues for the cultural space of late nineteenth-century Parisian shopgirls as a position of power. The shopgirls’ role in society is an ambiguous position connecting fashion consumer culture, class divides, gender and identity perceptions, and the workspace. Using James Tissot’s Femme à Paris series, specifically the image Demoiselles de Magasin, and Emile Zola’s novel Au Bonheur des Dames as primary sources, I examine the role of the shopgirl as a liminal position within the definition of the iconic ‘La Parisienne’ woman. By looking at women’s work and the role of shopgirls in the boutique and department store world of fashion and consumerism, we can see how shopgirls’ unique position gives historical significance to this kind of work. By looking at painting and literature as primary media, we can see how pervasive the shopgirl and La Parisienne imagery really at this time. Using a feminist approach, this thesis shows how the shopgirl occupies a particular social space for women in nineteenth-century France, perhaps even a somewhat influential position in Parisian culture, as she is a primary facilitator in the fashion world for transmitting ‘taste’— a marketable branding tool of French fashion that permeates the iconic ideals of French fashion.
This book focuses on middle-class urban women as participants in new forms of consumer culture. Within the special world of the department store, women found themselves challenged to resist the enticements of consumption. Many succumbed, buying both what they needed and what they desired, but also stealing what seemed so readily available. Pitted against these middle-class women were the management, detectives, and clerks of the department stores. Abelson argues that in the interest of concealing this darker side of consumerism, women of the middle class, but not those of the working class, were allowed to shoplift and plead incapacitating illness--kleptomania. The invention of kleptomania by psychiatrists and the adoption of this ideology of feminine weakness by retailers, newspapers, the general public, the accused women themselves, and even the courts reveals the way in which a gender analysis allowed proponents of consumer capitalism to mask its contradictions.